Praveshika Pratham Syllabus Oral examination only: 15 ......Lakshangeet, Bhajan, SaReGaMa Geet, Vande Maataram, Jana Gana Mana 12 Recognize ragas : Three 6 Recognize notes: Two clusters

1 © Anjali Nandedkar, nandedkarproductions.com

www.swaranjalimusicschool.com

Syllabus for practical Vocal and Theory Exams Akhil Bharatiya Gandharva Mahavidyalaya Mandal, Mumbai

Registration Number: 1444 / 1946 – 47, F 150 Established in 1931

Praveshika Pratham Syllabus Oral examination only: 15 minutes, 75 points

(There is no written examination for Praveshikaa Pratham)

Students are expected to be familiar with notes and Taal and use them while performing during recitals. Practice should be done with Taanpuraa and Tablaa.

Theory: 1. Definitions of following terms:

Sangeet (Music –includes three art forms – Vocal, Instrumental and dancing), Dhwani (Sound), Naad (Sounds useful for music), Swar(Naads

used in music), Shuddha Swar (Pure or basic notes), Vikrut Swar (Komal – Tivra or Soft-Sharp notes), Varjit Swar (Ommitted notes), Saptak (Octave), Mel (Thaat or a group of seven notes used for building a raga and classification of Raagas), Alankaar (Palataa – Sequential

combination of notes), Raaga (a combination of notes that are entertaining), Jaati (Type – Odav, Shadav, Sampurna), Vaadi (Most important note

in a Raaga), Saunvaadi (Second most important note in a raga), Pakad (Main part – particular short combination of notes that brings out the

character of a raga), Aalaap (slow expansion of a raga), Taan (Fast expansion of Raaga), Swaramaalikaa (SaReGaMa song), Lakshangeet (Song describing characteristics of a raga), Sthaayee and Antaraa (First and second part of a bandish), Laya (Tempo –

Vilambit or slow, Madhya or medium, Drut or fast), Maatraa (Basic unit for measuring taal), Taal (Measurement of music), Vibhaag (Section), Sam, Khaalee, Dugun (Double tempo), Thekaa (Form of taal), Aavartan (Cyclic repetition of taal).

2. Description of Raagas in this class (Thaat, notes, time, vaadi, saunvaadi, aaroha - avaroha, Pakad).

3. Taal: Daadraa, Keharwa, Teentaal, Ektaal, Jhaptaal, Choutaal (Chaartaal): Know full information about these taal

and use hands to show Maatraas (beats) of taal.

4. Basic knowledge of Swaralipi (Notation for writing music compositions in Paluskar and Bhatkhande lipi (script))

Practical: a. Knowledge of notes:

Basic and Vikrut (Komal & Tivra or Soft & Sharp) notes, sing separate and in group, recognize notes. Learn following Alankaars:

1. Sa, Re, Ga, Ma, Pa, Dha, Ni, Sa 2. SaReGa, ReGaMa, GaMaPa,…………, SaNiDha, NiDhaPa, DhaPaMa 3. SaReGaMa, ReGaMaPa………………., SaNiDhaPa, NiDhaPaMa 4. SaReSaReGa, ReGaReGaMa…………., SaNiSaNiDha, NiDhaNiDhaPa 5. SaGa, ReMa, GaPa, MaDha……………., SaDha, NiPa, DhaMa

6. Sa, SaReSa, SaReGaReSa………. Sa,SaNiSa, SaNiDhaNiSa

http://www.swaranjalimusicschool.com/


Learn following five Alankaars: Sing them in basic notes (Shuddha swar) in Vimabit (slow) and Madhya (Medium) tempo. Also sing them in one of the ragas of syllabus. (Some of them are in different taals - Daadraa, Roopak , Teentaal)

1. SaRe, ReGa, GaMa, ………………SaNi, NiDha, DhaPa 2. In Taal Daadraa: SaReSa, ReGaRe, GaMaGa……………..SaNiSa, NiDhaNi, DhaPaDha 3. In Taal Roopak: SaReGaSaReGaMa, ReGaMaReGaMaPa …. SaNiDhaSaNiDhaPa, NiDhaPaNiDhaPaMa 4. In Taal Teentaal : SaGaReSa, ReMaGaRe, GaPaMaGa ……… SaDhaNiSa, NiPaDhaNi, DhaMaPaDha 5. SaMa, RePa, GaDha ………… SaPa, NiMa, DhaGa

b. Knowledge of Raagas:

Durgaa, Kaafee, Khamaaj, Bheempalaasee, Baageshree, Bhoopaalee, Desh, Kalyaan 1. From these Ragas, sing Aaroha, Avaroha, Pakad (main part) and an introductory aalaap 2. Sing a song (Bandish) in medium tempo in each raag. 3. Prepare any six Raagas to sing Bandish, aalaap, taan together for five minutes. 4. Learn to sing seven more compositions from ragas above: One light song in Jhaptaal or Roopak or Ektaal, two SaReGaMa songs, two Lakshangeet, one Dhrupad (with Dugun or double tempo), one Bhajan (devotional song). 5. Recognize Raag from cluster of notes. 6. Learn to sing Vande Maataram and Jana Gana Mana (National Anthems of India).


Exam Format – Praveshikaa Pratham: Total points: 75 This is an oral exam. There is no written exam at this level 15 minutes for each student. Each student’s exam is separate from others. From each row, questions will be asked about different raag, so whole curriculum is covered. Use of Harmonium only for support (Sa, Pa / Ma). While singing full Raag of choice, Harmonium accompaniment is allowed.

Exam: Oral

Item Points

Sing a Bandish with Aalaap and Taan for a raga of examiner’s choice 8

Sing a Bandish and three aalaaps or five taan for another raga of examiner’s choice 7

One Alankaar in Basic notes and one alankaar in a raga. 6

Dhrupad in single and double tempo. 5

Bandish in a taal other than teentaal 5

Any three songs from following: Lakshangeet, Bhajan, SaReGaMa Geet, Vande Maataram, Jana Gana Mana

12

Recognize ragas : Three 6

Recognize notes: Two clusters Example: SaReGa, PaDhaNi, GaMaPa, MaPaNi

6

Tell information about two taals and say Thekaa (or bol) while showing with hand and finger movements

5

Information of one raga 5

Information about one composition type or Swarlipi type (Notation) 4

Three definitions 6

Total Points 75


pàrMiBak AlaMkar Prarambhik Alankaar | |

1 S R G M P D N S S N D P M G R S

s r g m p d n s s n d p m g r s

|

2 S R G, R G M, G M P, M P D, P D N, D N S,

s r g, r g m, g m p, m p d, p d n, d n s,

|

S N D, N D P, D P M, P M G, M G R, G R S

s n d, n d p, d p m, p m g, m g r, g r s

|

3 S R G M, R G M P, G M P D, M P D N, P D N S,

s r g m, r g m p, g m p d, m p d n, p d n s,

|

S N D P, N D P M, D P M G, P M G R, M G R S

s n d p, n d p m, d p m g, p m g r, m g r s

|

4 S R S R G, R G R G M, G M G M P, M P M P D, P D P D N, D N D N S

s r s r g, r g r g m, g m g m p, m p m p d, p d p d n, d n d n s

| |

S N S N D, N D N D P, D P D P M, P M P M G, M G M G R, G R G R S

s n s n d, n d n d p, d p d p m, p m p m g, m g m g r, g r g r s

| |

5 S G, R M, G P, M D, P N, D S, S D, N P, D M, P G, M R, G S

s g, r m, g p, m d, p n, d s, s d, n p, d m, p g, m r, g s

6 S S R S, S R G R S, S R G M G R S, S R G M P M G R S,

s s r s, s r g r s, s r g m g r s, s r g m p m g r s,

S R G M P D P M G R S, S R G M P D N D P M G R S,

s r g m p d p m g r s, s r g m p d n d p m g r s,

|

S R G M P D N S N D P M G R S,

s r g m p d n s n d p m g r s,

| | | | | | | |

7 S N S, S N D N S, S N D P D N S, S N D P M P D N S,

s n s, s n d n s, s n d p d n s, s n d p m p d n s,

| | | |

S N D P M G M P D N S, S N D P M G R G M P D N S,

s n d p m g m p d n s, s n d p m g r g m p d n s,

| |

S N D P M G R S R G M P D N S

s n d p m g r s r g m p d n s


PàvaoiSaka p`qama AlaMkar Praveshika Pratham Alankaar

| |

1 S R, R G, G M, M P, P D, D N, N S, S N, N D, D P, P M, M G, G R, R S

s r, r g, g m, m p, p d, d n, n s, s n, n d, d p, p m, m g, g r, r s

Taal Daadraa

| | | |

2 S R S, R G R, G M G, M P M, P D P, D N D, N S N, S R S

s r s, r g r, g m g, m p m, p d p, d n d, n s n, s r s

| | .

S N S, N D N, D P D, P M P, M G M, G R G, R S R, S N S

s n s, n d n, d p d, p m p, m g m, g r g, r s r, s n s

Taal Roopak

3 S R G S R G M, R G M R G M P, G M P G M P D, M P D M P D N,

s r g s r g m, r g m r g m p, g m p g m p d, m p d m p d n,

| | |

P D N P D N S, S N D S N D P, N D P N D P M, D P M D P M G,

p d n p d n s, s n d s n d p, n d p n d p m, d p m d p m g,

P M G P M G R, M G R M G R S

p m g p m g r, m g r m g r s

Taal Teentaal | | | | | | |

4 S G R S, R M G R, G P M G, M D P M, P N D P, D S N D, N R S N, S G R S

s g r s, r m g r, g p m g, m d p m, p n d p, d s n d, n r s n, s g r s

| | . . .

S D N S, N P D N, D M P D, P G M P, M R G M, G S R G, R N S R, S D N S

s d n s, n p d n, d m p d, p g m p, m r g m, g s r g, r n s r, s d n s

| |

5 S M, R P, G D, M N, P S, S P, N M, D G, P R, M S

s m, r p, g d, m n, p s, s p, n m, d g, p r, m s


Praveshika Pratham Exam: Information about eight Raagas – Synopsis

Raag: Durga

Thaat: Bilaaval Vaadi: Dhaivat (Dha) Samvaadi: Rishabh (Re)

Ga and Ni are omitted, All other notes are pure Type: Odav Odav , Time: Second prahar of night

| |

Aaroha s r m p sd s

| .

Avaroha s d pm

mr

rd s

.

Main part (Pakad) m p d mr

rd s

Raag : Kaafee

Thaat : Kaafee Ga and Ni are soft All other notes are pure

Type: Sampurna Sampurna Vaadi: Pancham (Pa) Samvaadi: Shadja (Sa)

Time: Midnight

|

Aaroha s r f m p d b s

|

Avaroha s b d p m f r s

Main part (Pakad)

pm fr, rf mp, m f r s

Raag : Khamaaj Thaat : Khamaaj

Both Nishads are used, Re is omitted in Aaroha, All other notes are pure, Type: Shaadav Sampurna,

Vaadi: Gandhaar (Ga) Samvaadi: Nishaad (Ni) Time: Evening or night,

|

Aaroha s gm pd n s

cc cc

|

Avaroha s b d p m g r s

Main part gm pd bd p d g m g

Raag : Bheempalaasi Thaat: Kaafee, Ga and Ni are komal, All other notes are pure,

Re and Dha are omitted in Aaroha, Type: Odav Sampurna, Vaadi: Madhyam (Ma) Samvaadi: Shadja (Sa),

Time: Evening (3 – 5 PM)

. | |

Aaroha b s mf m p

sb s

|

Avaroha sb dp mp mf m f

sr s

Main part (Pakad)

sm, mfp,

mfm

mf

sr s

Raag Baageshree Thaat: Kaafee

f,b soft, Re and Pa ommitted in Aaroha,

Type : Odav Sampurna

Vaadee: Madhyam (m), Saunvaadee: Shadja (s)

Time: Second prahar of night

. |

Aaroha b s f m d b s

|

Avaroha s b d m, p d, m f r m, f r s

C

. . Main part (Pakad)

d b s m, f r m f r s

Raag : Bhoopaalee

Thaat : Kalyaan Ma and Ni are omitted, All other notes are pure

Type: Odav Odav, Vaadi: Gandhar (Ga) Saunvaadi: Dhaivat (Dha)

, Time: First prahar of night

Aaroha s gr g p

sd s

| | . .

Avaroha s sd p

pg r,

sd

sd s

.

Main part g r p g, g r sd s

Raag : Des

Thaat: Khamaaj, This raag uses both Nishads (Shuddha Nishad is used in aaroha and komal nishad is

used in Avaroha), Omit Ga, Dha in Aaroha, Type: Odav Sampurna , Vaadi: Pa Saunvaadi: Re

Time : Second Prahar of the night or any time

|

Aaroha s r m p n s

| .

Avaroha s b d p d m g r, gn s

.

Main Part b d p d m g r, gn s

Raga : Kalyaan (Yaman) Thaat : Kalyaan,

Madhyam Teevra (Sharp), Rest of the notes are ‘Shuddha’ or pure, Type: Sampurna,

Vaadi: Gandhaar Saunvaadi: Nishaad Time: 1st ’Prahar*’ of night

. |

Aaroha n r g k d n s

|

Avaroha s n d p k g r s . .

Main Part (Pakad)

n r g k g r, n r s

(* ’Prahar’ includes three hours . 1st prahar of night includes first three hours after sunset.)


Praveshikaa Pratham: Definitions – Synopsis saMgaIt Sangeet Music: Includes Vocal, Instrumental, Dance art forms

qvanaI Dhvani Sound

naad Naad A sound that can be used in music: Aahat and Anaahat

svar Svara Note or Naad used in music

raga Raag

Combination of notes with following features - * Notes ( swar) - There must be atleast 5 notes or a maximum of 7 notes (swaras) in a Raag.

* Aaroh & Avaroh - Every Raag must have an : “Aaroha” - ascending notes & an “Avaroha” - descending movement of notes. * Vaadi & Saunvaadi - Every raag must have “Vaadi” - most prominent & dominating

note and “Saunvaadi” note - note that complements the dominating note. * Melodious, entertaining - A raag must be pleasant sounding and must be able to enchant the listener. * Key Note - The key note can never be missing in a Raag - ie, Sa or “Shadaj”

Sauqd svar Shuddha Svara Basic Notes

Sa, Re, Ga, Ma, Pa, Dha, Ni

ivakRt svar (kaomala,

tIvà) Vikruta Svara

(Komal, Teevra)

Altered notes When Re, Ga, Dha, Ni climb half a note below their place, they are called

‘Komal’ or soft. Madhyam climbs half a note above its usual place, it is called ‘Teevra’ or sharp.

vaija-t svar Varjit or varjya svara Excluded note

maola, qaaT Mel, Thaat Group of seven notes in straight order which can create a raaga.

jaait (AaoDva YaaDva

saMpUNa-) Jaati (Odav, Shadav,

Sampurna) Type of a raag based on the number of notes used in tha raaga: Odav: Five notes, Shadav: Six notes, Sampurna: Seven notes

vaadI Vaadi Main or dominent note

saMvaadI Saunvaadi Second most important note in a raga. Note that has a dialogue with Vaadi

AnauvaadI Anuvaadi Notes other than Vaadi and Saunvaadi that are used in a raaga.

ivavaadI Vivaadi A note that is excluded in a raaga, however if it is used skillfully on rare

occasions, the beauty of the raaga is enhanced.

saPtk Saptak Octave: 1. Mandra Saptak: Lower than middle octave,

2. Madhya Saptak: Middle Octave. Most often we sing in this octave, 3.Taar Saptak: Higher than middle octave

AlaMkar (plaTa) Alankaar (Palataa) Arrangement of notes in a sequential pattern

pkD Pakad Catch phrase that shows character of a raaga

Aalaap Aalaap Slow improvisations using the rules of a raga with only notes, no lyrics

tana Taan Faster improvisations using rules of a raga, with only notes, no lyrics

svarmaailaka (sargama gaIt) Svarmaalika Composition with only notes, no lyrics

laxaNa gaIt Lakshangeet A song containing all characteristics of a raag

sqaayaI AaOr AMtra Sthaayee and

Antaraa The songs sung for various raagas are called bandishes. Usually a bandish has two parts—the first is called sthaayi and the second is called antara.

laya (ivalaMibat maQya dùt) Laya (Vilambit, Madhya, Drut)

Same speed of time or equal interval between two maatraas or beat is called Tempo (Slow, Medium, Fast)

maata Maatraa Beat: Measurement unit for taal

tala Taal Measurement of music: Various beat Sequences that include maatraa, khanda

(vibhaag), Sam, Taali

ivaBaaga Vibhaag, Khanda Section

sama Sam First beat of any Taal

KalaI , kala Khaali, Kaal First beat after half cycle of Taal

dugauna itgauna caaOgauna Dugun, Tigun, Chougun Double, triple and quadruple tempo

zoka Thekaa Thekaa is a composition constructed for a taal while maintaining vibhaag, taali, khaalee of a taal and weight for letters of taal. (‘Bol’s or compositions for a Tabla. Taal is

an abstract form of Theka. Taal does not change but a taal can have more than one Theka.)

Aavat-na Aavartan Cyclic speed of taal. Saying or playing taal’s composition from Sam to Sam.


Introduction to ‘Swarlipi’ (musical script, Music notation or musical score). (Maatraa = Beat)

Pandit Paluskar Pandit Bhatkhande

Two maatraas q s No Symbol s s

q

One maatraa z s r No Symbol s r

z z

½ maatraa x s r Two swar in one maatraa sr

x x

¼ maatraa c s r g m Four swar in one maatraa srgm

c c c c

1/8th maatraa v s r g m p m g r Total number of swar in

one maatraa are indicated by symbol under

all swar together

srgmpmgr

v v v v v v v v

1/16th maatraa y sr gm pm gr gm pd nn dp srgmpmgrgmpdnndp

yy yy yy yy yy yy yy yy

1/3rd maatraa h s r g srg

h h h

1/6th maatraa j s r g r g m srgrgm

j j j j j j

1/12th maatraa l sr gr gm gm pm pd srgrgmgmpmpd

ll ll ll ll ll ll

Shuddha swar No symbol No symbol

Komal swar e f a b r g d n

Teevra swar k Maa k

Swar in Madhya saptak No Symbol No symbol

. . .

Swar in Mandra saptak n d p bfu

| | |

Swar in Taar saptak s r g aeh

Prolong swar si ii s---

Prolong a letter in lyrics Raa . . ma Raa iima

Vertical line in a composition after one ‘aavartan’ of a taal is finished Vertical line in a composition after each Khanda (section) is finished.

Sam A number 1 is written to indicate first maatraa Symbol X is placed at position of ‘Sam’ (1st maatraa)

Khaalee (Kaal) A symbol + is used to show khaalee A symbol O is used to show khaalee

Taalee The maatraa where taalee occurs, the

number of that maatraa is written: 1, 5, 13 The number of a taalee is written sequentially : 2, 3, 4

Khanda Khanda are not shown, but a vertical line is

drawn after aavartan is finished.

Khanda are shown by drawing a vertical line after each khanda is finished.

Tentaal and Ektaal are considered to have 8 and 6 maatraa each in madhyalay.

Example: Teentaal:

Teentaal and Ektaal always have 16 and 12 maatraa. Example: Teentaal:

Dhaa Dhin Dhin Dhaa Dhaa Dhin Dhin Dhaa Dhaa Tin Tin Taa Taa Dhin Dhin Dhaa Dhaa Dhin Dhin Dhaa Dhaa Dhin Dhin Dhaa Dhaa Tin Tin Taa Taa Dhin Dhin Dhaa

x x x x x x x x x x x x x x x x X 2 O 3

1 3 + 7

Taal Ektaal (Drut):

Dhin Dhin Dhaa Trak Too Naa Kat Taa Dhaa Trak Dhee Naa

x x x cc x x x x x cc x x

1 + 3 + 5 6


Lesson-1 Terminology and Definitions

1. Sangeet: The ancient Sanskrit text “Sangeet Ratnakar” defines sangeet (music) as encompassing the arts of

singing, playing (an instrument) and dance. In olden times, singing, playing an instrument and dance were given

importance in music in that order.

2. Dhvani: Dhvani refers to sound. Music is an art that we listen to with our ears. Therefore, sound is of foremost

important in sangeet/music. Dhvani can be of two types—one that is useful for music and the other that is not

useful for music.

3. Naad: Out of all the sounds (dhvanis), the sound that is useful for the purposes of music is called naad (ie,

musical sound). Naad can be of two types. Sounds that are made from friction or accent are called ‘aahat naad’

(ie, sounds we can hear). The other is called ‘anaahat naad’ and can be heard only by sages and rishis

(philosophical concept).

4. Swara: Certain sounds used in music (naads) are called swaras (notes). These (swaras or notes) are sounds of

specific frequencies. In Indian classical music, there are 7 basic notes—Sa (Shadaja), Re (Rishabh), Ga (Gandhar),

Ma (Madhyam), Pa (Pancham), Dha (Dhaivat) and Ni (Nishaad). These 7 swaras are called “shuddha swaras” (ie,

pure swaras). When Re, Ga, Dha and Ni are used below the pure note (ie at lower frequency), they are called

“komal” swaras (ie, flat notes). However, Ma can be used at a slightly higher note, and then it is called “teevra

madhyam” (Ma sharp). Thus, 7 pure notes, 4 flat notes (Re, Ga, Dha and Ni komal) and one sharp note (Ma

teevra) make up 12 swaras or notes in music.

5. Raaga: Raaga is considered to be a special feature/characteristic of Indian classical music. The word “raaga”

originates from the root “ranja” meaning entertainment/pleasing. Sanskrit texts define raaga as “raaga

ranjayate iti” meaning that which entertains (is pleasing) is raaga. A combination of notes (swaras) that is

entertaining/pleasing is called a raaga. A raaga should have a minimum of 5 notes.

6. Varjya swara: Swaras or notes that are not used in a particular raga are called varjya swaras (excluded notes).

For example, in Raaga Bhoopalee, Ma and Ni are not used, so for this raga they are varjya swaras.

7. Thaat: The group of seven basic notes that can be used to build a raaga is called thaat. There are 10 thaats in

Indian (Hindustani) classical music—Bilaaval, Kalyan, Khamaj, Kaafi, Bhairav, Marwa, Poorvi, Asaavari, Todi and

Bhairavi. Every raga originates from a particular thaat (or, every raga belongs to a thaat). For eg, Bheempalasi

raga originates from Kaafi thaat.

8. Jaati: (type or class of raga) Based on the number of swaras (notes) used in the raaga, it is said to be of a

particular jaati. Any raga should have a maximum of seven and a minimum of five notes (some exceptions have

four). Therefore, there are 3 main jaatis—“audav”, “shaadav” and “sampoorna”. A raga that uses five swaras is

called “audav”, one that uses six is called “shaadav” and one that uses seven notes is called “sampoorna”. Some

raagas use different number of notes in the aaroha and avaroha. In these cases, we get subclasses of raagas

(upjaati translated as subclass).

9. Vaadi: The main note of the raga is called the vaadi. This note comes forth prominently when the raga is sung or

played. The Sanskrit definition is “vadati iti vaadi” meaning “one that speaks is vaadi”. The vaadi is the note one

can dwell on in the raaga. For example, the vaadi (principal note) for Bhoopaalee is Ga.


10. Saunvaadi: This is the second most important note in the raga (after vaadi, but more prominent than other

notes used in the raaga). For eg, in Yaman the samvaadi is Ni.

11. Anuvaadi: All notes used in a raaga other than the vaadi and samvaadi are called anuvaadi.

12. Vivaadi: A note that is not used in a raga, but if used skillfully enhances the beauty of the raga, is called vivaadi.

13. Saptak: (octave) The seven pure notes and five altered notes (vikrut swara translated as altered note) together

form a saptak. Re, Ga, Dha, Ni and Ma are called “chal” swaras, ie, they can go above or below the pure note.

There are three saptaks (octaves)—mandra, madhya and taar.

Mandra saptak—this is the lower octave (comes before the madhya saptak or middle octave). This octave is

from the lower Sa to the normal Sa. (written with a dot on the note).

Madhya saptak—the octave we most commonly use to sing and play an instrument is the madhya saptak or

middle octave. This includes notes from the main Sa to Ni. The swaras in this octave are not written with any

symbol.

Taar saptak—This is the higher octave starting from the Sa above the normal Sa. The notes are written with a

line above them. The Madhya saptak is twice as high as the mandra saptak and the taar saptak is twice as high

as the Madhya saptak.

14. Alankaar: The sequential combination of notes used in aaroha and avaroha is called alankaar.

For example: (1) aaroha—SaReGa, ReGaMa, GaMaPa…

avaroha—SaNiDha, NiDhaPa, DhaPaMa…

(2) aaroha— SaGaReSa, ReMaGaRe, …

avaroha—SaNiDhaSa, NiDhaPaNi, …

It is a must to practice alankaars to learn where the swaras are situated/placed.

15. Aaroha-Avaroha: Singing or playing an instrument upwards from a particular note is called aaroha (ascending

scale of a raga), and singing or playing downwards from the higher note to the lower note is called avaroha

(descending scale).

Eg: (1) aaroha—Sa Ga Ma Pa Ni Sa

avaroha—Sa Ni Pa Ma Ga Sa

(2) aaroha—Sa Re Ga Ma Pa Dha Ni Sa

Avaroha—Sa Ni Dha Pa Ma Ga Re Sa

16. Pakad: A particular short combination/sequence of notes that brings out the character of the raaga, or is

characteristic of the raaga, is called pakad (like a catchphrase). Raagas can be identified by listening to their

pakad.

For example—pakad for Bheempalas is MaPa Ga\ Ma Ga\ Re Sa

17. Aalap: The slow expansion (or elaboration in slow tempo) of the raga using its notes and following the rules for

the particular raga is called aalap.

18. Taan: Taan refers to the singing or playing the notes of the raaga in fast tempo. The word “taan” is derived from

the root “Tann” or ‘Taananaa’ (stretching).


19. Sthaayi and Antara: The songs sung for various raagas are called bandishes. Usually a bandish has two parts—

the first is called sthaayi and the second is called antara.

20. Toda: Taans played on sitar, sarod and similar instruments are called todas.

Lesson 2: Definitions and Terminology (Taals) 1. Taal: Taal is a measurement used in music. Taals are defined as—

(1) The rhythmic time measure used (with action) in singing, playing (an instrument) and dance is called taal.

(Sangeet Makarand)

(2) The measurement used in singing and dance is called taal. (Bharatmuni)

(3) For a song, instrumental piece and dance, the steady rhythm that provides stability is called taal.

i.e., the combination of different submeasures—maatra (beat), vibhaag (group of maatras), sam, taali and

khaali fixed at different places is called taal.

2. Theka: This is the form of taal for tabla or pakhawaj, ie, the combination of words/mnemonics used when the

tabla or pakhawaj is played for a given taal (while maintaining the maatra, vibhaag, taali and khaali for that taal).

Although the taal and theka are similar in idea/concept and are related, there are some differences between

them. One taal can have many Thekaas.

3. Khand (Vibhaag): (Section) This is a defined grouping of maatras (beats) used in a taal. Each taal uses a distinct

khand that can be used to identify/distinguish the taal.

4. Sam: The first beat of a taal is called the sam. Taal Rupak is the only taal that has a khaali in its first beat.

5. Taali: When we keep the taal, the beat on which we clap is called taali. A taal has two types of khands—(1)

“bhari ke khand” (2) “khaali ke khand” (khands with khaali). Of these, to show the bhari ke khand, the clap we

give on the first beat of that khand is called taali. For example, teentaal has taalis on beats 1,5,13; therefore,

when we keep teentaal, we clap on beats 1,5 and 13.

6. Khaali (kaal): Usually, the first beat after half the number of total beats in a taal (or first beat after half-cycle) is

called khaali. However, this rule does not apply to all taals. “Khaali” is a Hindi word meaning “empty”. Therefore,

the first beat of the vibhaag that is not played (empty) is called khaali (or ‘kaal’ in Marathi). When we keep the

taal with the hand, khaali is shown by waving the hand away from the other (ie wave away from other hand

rather than clap). For example, teentaal has khaali on the 9th beat, so we show khaali on this beat by waving the

hand away.

There is an important rule for taali and khaali—in any taal, there can be two consecutive khands of taali, but two

consecutive khands with khaalis are not allowed.

7. Aavartan: The cyclic rhythm/repetition of the taal is called aavartan. Ie, if we read or play any taal repetitively

from sam to sam, it is called aavartan.

8. Laya: Laya (tempo) is very important in music. Some definitions of laya are as follows—

(1) the tempo is called laya.

(2) The time interval between two beats is called laya.

There are 3 major types of laya—(i) vilambit laya, (ii) madhya laya and (iii) dhrut laya


(i) Vilambit (slow) laya: this is very slow tempo. The time between two beats is long, therefore this is

called vilambit laya

(ii) Madhya laya: medium tempo is called madhya laya. This is faster than the vilambit laya but slightly

slower than the dhrut laya.

(iii) Dhrut laya: fast tempo is called dhrut laya. The time between two beats in dhrut laya is minimal.

“Chhote khayal” and “rajakhani” are presented in this tempo.

Usually, these types of layas (tempo) are relative terms. So if we consider one beat per second as

Madhya laya, then two beats per second would be dhrut laya and one beat per 2 seconds would be

vilambit laya.

9. Maatra: (Beat) The basic unit in which taal is measured is called maatra. Just as music is measured using taals,

taals are measured using maatras (beats).

10. Dugun: (double) Singing or playing two notes per beat is called dugun. Ie, when we say the mnemonics or play

the taal from sam to sam twice in one cycle of the taal, it is dugun.

11. Tigun: (triple) Singing or playing three notes per beat is called tigun. Ie, when we say the mnemonics or play the

taal from sam to sam thrice in one cycle of the taal, it is tigun.

12. Chougun: (Quadruple) Singing or playing four notes per beat is called tigun. Ie, when we say the mnemonics or

play the taal from sam to sam four times in one cycle of the taal, it is chaugun.


Lesson 4: Introduction to Raagas

1. Raaga Durga Introduction:

Swaras (notes): all shuddha (pure) notes Thaat: Bilaaval

Vaadi: Dhaivat Saunvaadi: Rishabh

Varjya: Gandhar, Nishad Jaati: Audav-audav

Time: 2nd prahar of the night

.

Pakad m p d m mr,

rd s

c c | |

Aaroha s mr m p

sd s

| .

Avaroha s sd

pm

mr,

rd s

Characteristics of the raaga:

(1) This is an ‘Uttaranga pradhaan’ raga. (The later notes (Pa Dha Ni Sa) are more prominent in this raga).

(2) The combination RePa can be used in this raga.

s r p, m p d i pm r p

(3) Aaroha has a clear rendition of Pa, but in the avaroha Pa is used as a “kana swara” (grace note) such as: Dha PaMa Re

(4) Some music scholars consider Ma as vaadi and Sa as saunvaadi in this raga, some consider Rishabh – Dhaivat

as vaadi – saunvaadi.

(5) This is considered to be a newer raga.

(6) The raaga is of a happy, pleasant nature or mood.

(7) Durga raaga from Khamaj thaat is also in use.

(8) Some bandishes in raaga Durga are written describing Goddess Durga.

Elaboration or improvisation for the raaga:

. . . . .

1 s d d s, d s r m r, m r d d s c c c

. . . .

2 d s mr

mr m r, r m p d i m r, d s r m, s r m, d

pm r, d d s

c c c c c

| .

3 s mr m

pm, m p d i

pm r, m p s d p m r, r r d

pm r, d s

c

| | | | | | .

4 s r m p d i pm r p, m p

sd s, d s, s r s d

pm r, m r d s

| | | | | | | | | | | | | .

5 m p d p m p sd

sd s, d s r, s r m r, m r d s m p d s i d

pm r, m r d s

C C C C C C C C C


Raaga Kaafi

Introduction: Swaras: Ga, Ni komal Thaat: Kaafi Vaadi: Pancham Samvaadi: Shadaj Varjya swaras: none Jaati: Sampoorna Time: 2nd prahar of the night

Pakad p m f r, r f m p, m f r s

|

Aaroha s r f m p d b s

|

Avaroha s b d p m f r s

Characteristics of the raaga: (1) The expansion of this raaga is generally simple and straight forward. For example:

s r f m p, p m f r, r f m p, m p d b d p

(2) Although the raaga is sampoorna, in aalaps the swara combination

and is often used.

(3) Bada khayaal is not sung in this raaga, hence it is considered a “Kshudra” (small capacity) raaga. (4) Semi-classical forms like thumri, tappa, hori are sung in this raaga (5) When two gandhars and two nishaads are used in this raaga, it is called Mishra Kaafi. (6) Some music scholars consider the vaadi to be Pa and samvaadi to be Re.

Raaga elaboration and expansion (Vistaar):

. . .

1 s b d s, d b s r f r, r f m f r, f i s c c c c c

2 s r f r m p, m p m p d p, m f r r f m p d i p, m p f r, m f r s

3 s r f r m p, m p d b d p, m p d p m f r, r f m f r s c c c c c c

| | |

4 s r m p d b d p, m p d b s b d s s b d p, m p m p, m p d p f r, r f m p m f r g s c c c c c c c c c

| | | | | | | | |

5 s r m p d b d p, m p d b s, d b s r f r, f r, s, s b d p, c c c c c c

|

m p d b s b d p, d d p f r r f rs

c c

s r m p

|

m p d s


Raaga Khamaaj

Introduction: Swaras: Two Nishads Thaat: Khamaaj Vaadi: Gandhaar Samvaadi: Nishaad Varjya swaras: Rishabh in aaroha Jaati: Shaadav - Sampoorna Time: 2nd prahar of the night or any time

Pakad g m p d b d p d g m g

c c c c

|

Aaroha s i g m p d n s

|

Avaroha s b d p m g r s

c

Characteristics of the raaga: (1) Khamaaj raag is the main or ‘Ashray’ (shelter) raag of Khamaaj Thaat.

(2) Khamaaj uses shuddha nishaad in aaroha and komal nishaad in avaroha.

(3) Dha – Ma combination is considered important in Khamaaj.

(4) Rishabh is ‘Varjya’ or ‘Varjit’ in aaroha and used in very small amount in avaroha. Hence Rishabh is weak in this

raaga.

(5) Sometimes in ‘taar saptak’, combination is used.

(6) Semi classical compositions like Thumri, Daadraa, Tappa, Zoola etc. are often sung in Raag Khamaaj. Hence

‘vilambit khyaal’ (compositions using very slow tempo) are not performed in this raag.

(7) Since the swar (notes) are not used in prolonged or steady manner, this raag is considered to have playful

character.

(8) Even though they don’t sing badaa khyaal (Vilambit or slow composition) in Khamaaj, ‘Maseetkhaanee gat’

(Maseetkhaanee or slow expansion) is often played on instrument in this raag.

(9) While singing semi classical compositions, a mixed character of this raag is often used. Hence shadows of some

other raagas are sometimes visible.


1 s g m p, g m p, g m p d m g i r s c

2 s g m p, d m g, g m p d b d p, d m g r s

c c c c

| | |

3 g m, g m p, m p d, p d b d p, g m p d n i s ns s b d p, d m g, g m p m, g

rs

c c c c c

| | | | | | |

4 m g r g p d n n s ns, p d s r g i s, s b d p, g m p d b d p, d m g, r s

c c c c c c c c c c c c c c c

| | | | | | | | | | |

5 g m p d n s, b d p d n s, s g m g r s, s b d p, p d n s n s, b d p m g i r s c c c c c c c c c c c c c c c

| | | |

p d s r g s

c c c c


Raaga Bheempalaasee

Introduction: Swaras: Gandhar Nishad Komal Thaat: Kaafee Vaadi: Madhyam Samvaadi: Shadja Varjya swaras: Rishabh, dhaivat in aaroha Jaati: Odav-Sampoorna Time: Afternoon (3 – 5 PM)

Pakad b s m, m p f m, m f r s

|

Aaroha b s f m p b s

|

Avaroha s b d p, m p f m, f r s

Characteristics of the raaga: (1) Since this Raag originates from Kaafee thaat (Janya raag from Kafee Thaat), it uses komal Gandhar and Komal

Nishaad.

(2) In this raag, undulations are done while singing Gandhar and Nishaad.

(3) Doing ‘Nyaas’ on Madhyam (Ending compositions on Madhyam and lingering on it) clearly shows the character

of this raag. Like Madhyam, one can also perform ‘Nyaas’ on Pancham.

Examples: sfmp, fmp, fmpbdp, pbsbdp etc.

(4) Compositions in this raag usually start with Nishaad.

(5) Along with Vaadi-Saunvaadi, Gandhar and Nishaad are also important in this raag.

(6) Rishabh, Dhaivat are ‘varjya’ in aaroha and even in avaroha there is no resting or lingering on these swaras.

(7) Even though this raag is useful for singing khyaal, it is also popular for singing Bhajan, Natyageet and other light

songs.


. . . . . .

1 s b b p b s, p b s f r s

.

2 r s b s m f, s f m p f, r s c c

3 b s f m, f m p, f m p b d p, d p m f f m, s f m f r s

| | | |

4 b s f m p i, f m p b, p sb

sb s s b d p, m p f m, m f r s

c c c c c

| | | | | || | | | |

5 p m, p m, f m p b, s b, s b, p b sb s, p b s

mg r s, r b s, b d p,

c c c c c c

d m p f m, s f m p mf r s

c


Raaga Baageshree

Introduction: Swaras: Gandhar Nishad Komal Thaat: Kaafee Vaadi: Madhyam Saunvaadi: Shadja Varjya swaras: Rishabh, Pancham in aaroha Jaati: Odav-Sampoorna Time: Second prahar of night

. .

Pakad d b s m, f r m, m mf r s

|

Aaroha s f m d b s

|

Avaroha s b d m p d m mf r s

c

Characteristics of the raaga: (1) This Raag originates from Kaafee thaat (Janya raag from Kafee Thaat), hence it uses komal Gandhar and Komal

Nishaad.

(2) In this raag, undulations are done while singing Gandhar and Nishaad.

(3) While singing Gandhaar, Madhyama ‘kanaswar’ (grace note) is used and for Nishaad, Dhaivat or Shadja is used

as ‘kanaswar’.

(4) ‘Nyas’ is done on Gandhar in ‘poorvaang’ (first half of aaroha), and on Dhaivat in ‘uttaraang’ (second half of

aaroha).

Examples for Gandhaar: smfmf, fmdmf, mpdmf

Examples for Dhaivat: sfmd, bdmfmd, mdsbbd, dbsbd

(5) Pancham is ‘varjya’ in aaroha of this raag. In avaroha, Pancham us used in a twisted fashion and in particular

combination of swaras.

(6) Even though Pancham is used much less than other swaras, it is an important swar in this raag, since the

particular use of Pancham brings out true characteristics of this raga.

(7) Rishabh swar is varjya or varjit in aaroha, however, sometimes it is used like this in aaroha:

rfmfrs.

(8) This raga has twisted combinations of swar in avaroha, but in straight or simple taan, sometimes Pancham is

used in a straight fashion like: sbdpmfrs.

Sometimes taan eliminates Pancham altogether like this: sbdmfrs

(9) Some music scholars start this raga with Nishaad.

(10) d–m combination is considered strong in this raga.

Raaga elaboration and expansion (Vistaar): . . . . . . . .

1 s b b d, d b d s, d b s, mf r s

c c

. . . . . .

2 b s r b s b d, d b s m m f, s f m f r s

c c c c

3 s f m, f m d i m, m p d i m f, r f m f r s

|

4 b s f m d m, f m d b b d, m d b s b d, m p d m f r s

c c c

| | | | | | | | |

5 f m bd

sb

sb d s, d b s

mf r s, r b sb d, m d b d m, m p d m f, r f r f m f r s

c c c


Raaga Bhoopaalee

Introduction: Swaras: All swar are shuddha (pure or basic) Thaat: Kalyaan Vaadi: Gandhaar Saunvaadi: Dhaivat Varjya swaras: Madhyam and Nishaad Jaati: Odav - Odav Time: First prahar of night

. .

Pakad g r, p g, g r sd

sd s

| | |

Aaroha s r g p sd

sd s

| . .

Avaroha s d p g r sd

sd s

Characteristics of the raaga: (1) All notes are pure in this raag, but it is considered to be originating from Kalyaan thaat and singing time is same

as raag Kalyaan.

(2) This is a ‘Poorvaang pradhaan’ (first half of aaroha is prominent) raag. Vaadi is Gandhaar.

(3) This raag has serious nature.

(4) With undulations on Dhaivat in mandra saptak, the character of this raag becomes clear. Dhaivat uses Sa for

kanaswar.

(5) While singing, swar in a firm or solid manner.

(6) Even though there are only five swar in this raag, lot of improvisation is easily possible while singing.

(7) There should never be any nyaas on Dhaivat in aaroha as follows:

sdp gp gd, srgpd, dgpd.

(8) Nyaas on Rishabh shows character of this raag clearly.

(9) This raag is performed mainly in mandra and madhya saptak.

Raaga elaboration and expansion (Vistaar): . . . . .

1 s sd

sd s, d s r, s r s s

sd

sd s

c c c c

. . .

2 d s gr

gr g, g r p g, g p d p g r, d, d, s

c c c c

. | | | | | |

3 d s r g, s r g I, g p sd

sd, p g r, g p

sd

sd s,

sd d, p g r,

| . .

g p d s d p g r, g r, p g, d p g r, d d s

c c c

| | | | | | | | | | | . .

4 s r g r g p g p d sd s, d s r, s r g r, d

sd s, s d p g r, d d s

| | | | | | | | | | | | . .

5 s s d p g r, g p sd

sd s, d s r g r, g r d s, s d p g r, g r p g, d p g r, d d s

c c c c c c


Raaga Des

Introduction: Swaras: Two Nishads Thaat: Khamaaj Vaadi: Pancham Samvaadi: Rishabh Varjya swaras: Gandhaar and Dhaivat in aaroha Jaati: Odav - Sampoorna Time: 2nd prahar of the night or any time

.

Pakad b d p, d m g r, g n s

|

Aaroha s r m p d n s

| .

Avaroha s b d p, d m g r, g n s

Characteristics of the raaga: (1) In this raag, shuddha nishaad is used in aaroha and komal nishaad is used in avaroha.

(2) In avaroha, Dha – Ma combination and nyaas on Rishabh suggests a typical character of raag Des.

(3) In this raag, nyaas is done only on vaadi – saunvaadi (Pa, Re) and no other swar.

(4) This raag has a playful nature.

(5) This raag is popular in semi classical compositions.

(6) Some compositions in this raag use komal gandhaar as a vivaadi.

(7) Raag Des’s character is clearer in avaroha.


.

1 s r m p, m p d i m g r, g n s

2 s r m p, d m g r, r m p b d p, d m g r, gn s

| | .

3 r m p d m p b d p, m p n n s, s b d p, r m p d m g r, r p m g r, g i n s c c c c

| | | | | | | | .

4 s r m p, r m p n i n s, p n s r g i n s n s n s r b d p, m p m p d m g r gn s

c c c c c c c c c c

| | | | | | | | | | | | | | |

5 s r m p n sn s, p n s r, s r m g r g i n s, p n s r s r, b d p,

.

m p d p d m g r, r m p b d m g r gn s

c c c


Raaga Yaman (Kalyaan)

Introduction: Swara: Madhyam is Teevra, All other swar are shuddha Thaat: Kalyaan Vaadi: Gandhaar Saunvaadi: Nishaad Varjya swaras: Pancham in aaroha Jaati: Sampoorna Time: First prahar of night

.

Pakad n r g r, k r g, p r s

. |

Aaroha n r g k d n s

|

Avaroha s n d p k g pr s

Characteristics of the raaga: (1) This raag originates from Kalyaan thaat, and of course, it is the main raag in Thaat Kalyaan.

(2) In ancient books and compositions, the aaroha of this raag contains all seven notes:srgkpdns.

However, most often the raag begins with Nishaad.

(3) There are many combination pairs with Shadja – Pancham aspect in this raag, such as: r-d,

s-p, g-n, k –s. For this reason, this raag has a lot of interesting content for expansion and

elaboration.

(4) Pa-Re combination is considered typical for Raag Kalyaan. Raag also uses NiReSa.

(5) In original raagas, this is a very popular raag.

(6) This raag is useful for khyaal singing (slow composition), but is also used extensively in light music and film

songs.

(7) When shuddha madhyam is used in small quantities in avaroha, this raag becomes ‘Yaman Kalyaan’ or ‘Jaimini

Kalyaan’.

(8) While improvising or expanding, one can also use Pa-Sa aspect relation or combination. That is why some music

scholars consider this to be a ‘Sampoorna’ raag.

Raaga elaboration and expansion (Vistaar): . . . . . . . .

1 s n r s, s n d p, k, d n i d s

.

2 n r g, g r k g, r g k p r s

c c c

. .

3 n r g, r g k, r g, g g p, p k g r, n r s

. . . .

4 n r g k, d i p, g k, d n dn d p, p k g, g r, k g, p r, n d n r s

. | |

5 n r g k, d n, k d k, n d p, g k d n i d s, s n d n d p, p k g k, r g, r g k p r s c c c c

| | | | | | | .

6 n r g r g k, g k d n sn s, d n r g r s, s n d p, k d n d p k, g

pr n r s

c c c c c c c


Praveshikaa Pratham

Taal Daadraa: Dhaa Dhee Naa Dhaa Tee Naa

Maatraa (Beats): 6, Vibhaag or Khanda (sections) : 2 (3,3)

Taalee: 1 (on 1st beat or Maatraa)

Khaalee or Kaal: 1 (on 4th Beat or Maatraa)

Taal Kervaa: Dhaa Ge Naa Tee Na Ka Dhi Na

Maatraa (Beats): 8, Khanda (sections) : 2 (4, 4)


Khaalee or Kaal: 1 (on 5th Beat or Maatraa) Taal Teentaal

Dhaa Dhin Dhin Dhaa Dhaa Dhin Dhin Dhaa Dhaa Tin Tin Taa Taa Dhin Dhin Dhaa

Maatraa (Beats): 16, Vibhaag or Khanda (sections) : 4 (4, 4, 4, 4)

Taalee: 3 (on 1, 5, 13 beat or Maatraa)


Taal Ektaal

Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa

Maatraa (Beats): 12

Vibhaag or Khanda (sections) : 6 (2, 2, 2, 2, 2, 2)

Taalee: 4 (on 1, 5, 9, 11th beat or Maatraa)

Khaalee or Kaal: 2 (on 3rd and 7th Beat or Maatraa) Taal Jhaptaal: Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa




Taal Choutaal – Chaartaal

Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana

Maatraa (Beats): 12, Vibhaag or Khanda (sections) : 6 (2, 2, 2, 2, 2, 2)


Khaalee or Kaal: 2 (on 3rd and 7th Beat or Maatraa)

Praveshikaa Poorna

Taal Dhamaar

Kat Dhi Ta Dhi Ta Dha I Ga Ti Ta Ti Ta Taa I




Taal Roopak

Tee Tee Naa Dhi Naa Dhi Naa Tee

Maatraa (Beats): 7, Vibhaag or Khanda (sections) : 3 (3, 2, 2)

Taalee: 2 (on 4th and 6th beat or Maatraa)

Khaalee or Kaal: 1 (on 1st Beat or Maatraa)

Madhyamaa Pratham

Taal Jhoomraa

Dhin I Dhaa Tirakita Dhin Dhin DhaaGe Tirakita Tin I Taa Tirakita Dhin Dhin DhaaGe Tirakita




Taal Tilvaadaa

Dhaa Tirakita Dhin Dhin Dhaa Dhaa Tin Tin Taa Tirakita Dhin Dhin Dhaa Dhaa Dhin Dhin




Taal Sooltaal

Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee

Maatraa (Beats): 10, Vibhaag or Khanda (sections) : 5 (2, 2, 2, 2, 2)

Taalee: 3 (on 1, 5, 7th beat or Maatraa)


Madhyamaa Poorna

Taal Deepchandi

Dhaa Dheen i Dhaa Dhaa Teeni Taa TeeniDhaa Dhaa Dheeni




Taal Aadaa Choutaal Maatraa (Beats): 14,

Dheen Tirakita Dhi Naa Too Naa Kat Taa Tirakita Dhee Naa Dhee Dhee Naa

Vibhaag or Khanda (sections) : 7 (2,2,2,2,2,2,2) Taalee: 4 (on 1, 3, 7, 11 beat or Maatraa)

Khaalee or Kaal: 3 (on 5th, 9th, 13th Beat or Maatraa)

Taal Teevraa Dhaa Din Taa Kita Taka Gadee Gana

Maatraa (Beats): 7, Vibhaag or Khanda (sections) : 3 (3, 2, 2)

Taalee: 3 (on 1st, 4th and 6th beat or Maatraa)

Khaalee or Kaal: There is no khaalee


भातखड ताल – ललपी Pandit Bhatkhade Taal – Lipi (Taal script)

Dugun – Single cycle

Tigun – Single Cycle

Chougun – Single Cycle

ताल दादरा मातरा : 6, विभाग (खड) – 2 (3, 3),

ताली : 1 (पहली मातरापर),

खाली : 1 (चौथी मातरापर)

Taal Daadraa

Maatraa (Beats): 6, Vibhaag or Khanda (sections) : 2 (3,3)



ठका

Thekaa

धा धध ना धा ती ना धा Dhaa Dhee Naa Dhaa Tee Naa Dhaa

X O X

दगन

Dugun (Double speed)

धा धध ना धा ती ना धा धध ना धा ती ना धा

DhaaDhi NaaDhaa TeeNaa DhaaDhi NaaDhaa TeeNaa Dhaa

X O X

दगन


धा धध ना धा धध ना धा ती ना धा

Dhaa Dhee Naa DhaaDhi NaaDhaa TeeNaa Dhaa

X O X

ततगन

Tigun (Triple speed)

धा धध ना धा ती ना धा धध ना धा ती ना धा धध ना धा ती ना धा DhaaDhiNaa DhaaTeeNaa DhaaDhiNaa DhaaTeeNaa DhaaDhiNaa DhaaTeeNaa Dhaa

X O X

ततगन


धा धध ना धा धा धध ना धा ती ना धा Dhaa Dhee Naa Dhaa DhaaDhiNaa DhaaTeeNaa Dhaa

X O X

चौगन

Chougun (Quadruple speed)

धा धध ना धा ती ना धा धध ना धा ती ना धा धध ना धा ती ना धा धध ना धा ती ना धा DhaaDhiNaaDhaa TeeNaaDhaaDhi NaaDhaaTeeNaa DhaaDhiNaaDhaa TeeNaaDhaaDhi NaaDhaaTeeNaa Dhaa

X O X

चौगन


धा धध ना धा - - धा धध ना धा ती ना धा Dhaa Dhee Naa Dhaa - - Dhaa Dhi NaaDhaaTeeNaa Dhaa

X O X


पलसकर ताल – ललपी Pandit Paluskar Taal – Lipi (Taal script)


Tigun – Single cycle

Chougun – Single cycle

ठका

Thekaa

धा धध ना धा ती ना धा Dhaa Dhi Naa Dhaa Tee Naa Dhaa

z z z z z z Z 1 + 1

दगन

Dugun

धा धध ना धा ती ना धा धध ना धा ती ना धा

DhaaDhi NaaDhaa TeeNaa DhaaDhi NaaDhaa TeeNaa Dhaa

Xx Xx Xx Xx Xx Xx z

1 + 1

दगन

Dugun

धा धध ना धा धध ना धा ती ना धा

Dhaa Dhi Naa DhaaDhi NaaDhaa TeeNaa Dhaa

z z z Xx Xx Xx z

1 + 1

ततगन

Tigun

धा धध ना धा ती ना धा धध ना धा ती ना धा धध ना धा ती ना धा DhaaDhiNaa DhaaTeeNaa DhaaDhiNaa DhaaTeeNaa DhaaDhiNaa DhaaTeeNaa Dhaa

H h h H h h H h h H h h H h h H h h z

1 + 1

ततगन

Tigun

धा धध ना धा धा धध ना धा ती ना धा Dhaa Dhi Naa Dhaa DhaaDhiNaa DhaaTeeNaa Dhaa

z z z z H h h H h h z

1 + 1

चौगन

Chougun धा धध ना धा ती ना धा धध ना धा ती ना धा धध ना धा ती ना धा धध ना धा ती ना धा

DhaaDhiNaaDhaa TeeNaaDhaaDhi NaaDhaaTeeNaa DhaaDhiNaaDhaa TeeNaaDhaaDhi NaaDhaaTeeNaa Dhaa C c c c C c c c C c c c C c c c C c c c C c c c

1 + 1

चौगन

Chougun धा धध ना धा - - धा धध ना धा ती ना धा

Dhaa Dhi Naa Dhaa - - Dhaa Dhi NaaDhaaTeeNaa Dhaa

z z z z C c c c C c c c

1 + 1


Praveshikaa Pratham Exam

भातखड ललपी Pandit Bhatkhade Taal – Lipi (Taal script)




ताल करवा मातरा : 8, विभाग (खड) – 2 (4, 4),

ताली : 1 (पहली मातरापर),

खाली : 1 (पााचिी मातरापर)

Taal Kervaa

Maatraa (Beats): 8, Khanda (sections) : 2 (4, 4)



ठका

Thekaa धा ग ना ती न क धध न धा

Dhaa Ge Naa Tee Na Ka Dhi Na Dhaa

X O X

दगन

Dugun (Double Speed)

धाग नाती नक धधन धाग नाती नक धधन धा

Dhaa Ge Naa Tee Na Ka Dhi Na DhaaGe NaaTee NaKa DhiNa Dhaa

X

O X

दगन

Dugun (Double Speed)

धा ग ना ती धाग नाती नक धधन धा

Dhaa Ge Naa Tee DhaaGe NaaTee NaKa DhiNa Dhaa

X

O X

ततगन


धागना तीनक धधनधा गनाती नकधध नधाग नातीन कधधन धा DhaaGeNaa TeeNaKa DhiNaDhaa GeNaaTee NaKaDhi NaDhaaGe NaaTeeNa KaDhiNa Dhaa

X O X

ततगन


धा ग ना ती न - धा ग नातीन कधधन धा Dhaa Ge Naa Tee Na - DhaaGe NaaTeeNa KaDhiNa Dhaa

X O X

चौगन


धागनाती नकधधन धागनाती नकधधन धागनाती नकधधन धागनाती नकधधन धा DhaaGeNaaTee NaKaDhiNa DhaaGeNaaTee NaKaDhiNa DhaaGeNaaTee NaKaDhiNa DhaaGeNaaTee NaKaDhiNa Dhaa

X O X

चौगन


धा ग ना ती न क धागनाती नकधधन धा Dhaa Ge Naa Tee Na Ka DhaaGeNaaTee NaKaDhiNa Dhaa

X O X


पलसकर ललपी Pandit Paluskar Taal – Lipi (Taal script)




ठका

Thekaa

धा ग ना ती न क धध न धा Dhaa Ge Naa Tee Na Ka Dhi Na Dhaa

z z z z z z z z Z 1 + 1

दगन


धाग नाती नक धधन धाग नाती नक धधन धा

DhaaGe NaaTee NaKa DhiNa DhaaGe NaaTee NaKa DhiNa Dhaa

Xx Xx xx Xx Xx Xx xx Xx z

1

+

1

दगन


धा ग ना ती धाग नाती नक धधन धा

Dhaa Ge Naa Tee DhaaGe NaaTee NaKa DhiNa Dhaa

z z z z Xx Xx xx Xx z

1 + 1

ततगन


धागना तीनक धधनधा गनाती नकधध नधाग नातीन कधधन धा DhaaGeNaa TeeNaKa DhinNaDhaa GeNaaTee NaKaDhi NaDhaaGe NaaTeeNa KaDhiNa Dhaa H h h H h h H h h H h h H h h H h h H h h H h h z

1

+

1

ततगन


धा ग ना ती न - धाग नातीन कधधन धा Dhaa Ge Naa Tee Na - DhaaGe NaaTeeNa KaDhiNa Dhaa

z z z z z H h h H h h H h h z

1 + 1

चौगन

Chougun (Quadruple Speed)

धागनाती नकधधन धागनाती नकधधन धागनाती नकधधन धागनाती नकधधन धा DhaaGeNaaTee NaKaDhiNa DhaaGeNaaTee NaKaDhiNa DhaaGeNaaTee NaKaDhiNa DhaaGeNaaTee NaKaDhiNa Dhaa C c c c C c c c C c c c C c c c C c c c C c c c C c c c C c c c z

1 +

1

चौगन

Chougun (Quadruple Speed)

धा ग ना ती न क धागनाती नकधधन धा Dhaa Ge Naa Tee Na Ka DhaaGeNaaTee NaKaDhiNa Dhaa

z z z z z z C c c c C c c c z

1 + 1






ताल तीनताल

मातरा : 16, विभाग (खड) – 4 (4, 4, 4, 4),

ताली : 3 (1, 5, 13 मातरा पर),

खाली : 1 (9 िी मातरा पर)

Taal Teentaal




ठका

Thekaa

धा धध धध धा धा धध धध धा Dhaa Dhin Dhin Dhaa Dhaa Dhin Dhin Dhaa

X 2

धा तत तत ता ता धध धध धा धा Dhaa Tin Tin Taa Taa Dhin Dhin Dhaa Dhaa

O 3 X

दगन


धाधध धधधा धाधध धधधा धातत ततता ताधध धधधा

DhaaDhin DhinDhaa DhaaDhin DhinDhaa DhaaTin TinTaa TaaDhin DhinDhaa

X

2

धाधध धधधा धाधध धधधा धातत ततता ताधध धधधा धा

DhaaDhin DhinDhaa DhaaDhin DhinDhaa DhaaTin TinTaa TaaDhin DhinDhaa Dhaa

O

3 X

दगन


धा धध धध धा धा धध धध धा

Dhaa Dhin Dhin Dhaa Dhaa Dhin Dhin Dhaa

X

2

धाधध धधधा धाधध धधधा धातत ततता ताधध धधधा धा

DhaaDhin DhinDhaa DhaaDhin DhinDhaa DhaaTin TinTaa TaaDhin DhinDhaa Dhaa

O

3 X

ततगन

Tigun

धाधधधध धाधाधध धधधाधा ततततता ताधधधध धाधाधध धधधाधा धधधधधा

DhaaDhinDhin DhaaDhaaDhin DhinDhaaDhaa TinTinTaa TaaDhinDhin DhaaDhaaDhin DhinDhaaDhaa DhinDhinDhaa

X 2

धातततत ताताधध धधधाधा धधधधधा धाधधधध धाधातत ततताता धधधधधा धा DhaaTinTin TaaTaaDhin DhinDhaaDhaa DhinDhinDhaa DhaaDhinDhin DhaaDhaaTin TinTaaTaa DhinDhinDhaa Dhaa

O 3 X

ततगन

Tigun



X

2

धा तत - - धा धधधधधा धाधधधध धाधातत ततताता धधधधधा धा Dhaa Tin - - Dhaa DhinDhinDhaa DhaaDhinDhin DhaaDhaaTin TinTaaTaa DhinDhinDhaa Dhaa

O 3 X




ताल तीनताल : पलसकर ललपी Taal Teentaal : Pandit Paluskar Taal – Lipi (Taal script)


चौगन

Chougun

धाधधधधधा धाधधधधधा धाततततता ताधधधधधा धाधधधधधा धाधधधधधा धाततततता ताधधधधधा

DhaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaTinTinTaa TaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaTinTinTaa TaaDhinDhinDhaa

X

2

धाधधधधधा धाधधधधधा धाततततता ताधधधधधा धाधधधधधा धाधधधधधा धाततततता ताधधधधधा धा DhaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaTinTinTaa TaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaTinTinTaa TaaDhinDhinDhaa Dhaa

O

3

चौगन

Chougun



X

2

धा तत तत ता धाधधधधधा धाधधधधधा धाततततता ताधधधधधा धा Dhaa Tin Tin Taa DhaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaTinTinTaa TaaDhinDhinDhaa Dhaa

O

3

ठका

Thekaa



z z z z z z z z 1 5

धा तत तत ता ता धध धध धा धा Dhaa Tin Tin Taa Taa Dhin Dhin Dhaa Dhaa

z z z z z z z z Z + 13 1

दगन


धाधध धधधा धाधध धधधा धातत ततता ताधध धधधा

DhaaDhin DhinDhaa DhaaDhin DhinDhaa DhaaTin TinTaa TaaDhin DhinDhaa

Xx Xx xx Xx Xx Xx xx Xx

1 5

धाधध धधधा धाधध धधधा धातत ततता ताधध धधधा धा DhaaDhin DhinDhaa DhaaDhin DhinDhaa DhaaTin TinTaa TaaDhin DhinDhaa Dhaa Xx Xx xx Xx Xx Xx xx Xx z

+ 13 1

दगन




z z z z z z z z

1 5

धाधध धधधा धाधध धधधा धातत ततता ताधध धधधा धा DhaaDhin DhinDhaa DhaaDhin DhinDhaa DhaaTin TinTaa TaaDhin DhinDhaa Dhaa Xx Xx xx Xx Xx Xx xx Xx z

+ 13 1




ततगन


धाधधधध धाधाधध धधधाधा ततततता ताधधधध धाधाधध धधधाधा धधधधधा DhaaDhinDhin DhaaDhaaDhin DhinDhaaDhaa TinTinTaa TaaDhinDhin DhaaDhaaDhin DhinDhaaDhaa DhinDhinDhaa H h h H h h H h h H h h H h h H h h H h h H h h

1 5

धातततत ताताधध धधधाधा धधधधधा धाधधधध धाधातत ततताता धधधधधा धा DhaaTinTin TaaTaaDhin DhinDhaaDhaa DhinDhinDhaa DhaaDhinDhin DhaaDhaaTin TinTaaTaa DhinDhinDhaa Dhaa H h h H h h H h h H h h H h h H h h H h h H h h z

+ 13 1

ततगन



z z z z z z z z

1 5

धा तत - - - धा धधधधधा धाधधधध धाधातत ततताता धधधधधा धा Dhaa Tin - - Dhaa DhinDhinDhaa DhaaDhinDhin DhaaDhaaTin TinTaaTaa DhinDhinDhaa Dhaa

z z H h h H h h H h h H h h H h h H h h z

+ 13 1

चौगन


धा धध धध धा धा धध धध धा धा तत तत ता ता धध धध धा धा धध धध धा धा धध धध धा धा तत तत ता ता धध धध धा DhaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaTinTinTaa TaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaTinTinTaa TaaDhinDhinDhaa C c c c C c c c C c c c C c c c C c c c C c c c C c c c C c c c

1 5

धा धध धध धा धा धध धध धा धा तत तत ता ता धध धध धा धा धध धध धा धा धध धध धा धा तत तत ता ता धध धध धा धा DhaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaTinTinTaa TaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaTinTinTaa TaaDhinDhinDhaa Dhaa C c c c C c c c C c c c C c c c C c c c C c c c C c c c C c c c z

+ 13 1

चौगन



z z z z z z z z

1 5

धा तत तत ता धा धध धध धा धा धध धध धा धा तत तत ता ता धध धध धा धा Dhaa Tin Tin Taa DhaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaTinTinTaa TaaDhinDhinDhaa Dhaa

z z z z C c c c C c c c C c c c C c c c z

+ 13 1




दगन


धध धध धाग ततरककट त ना कत ता धाग ततरककट धी ना


X O 2

धध धध धाग ततरककट त ना कत ता धाग ततरककट धी ना धध

Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin

O 3 4 X


दगन


धध धध धाग ततरककट त ना

Dhin Dhin DhaaGe Tirakita Too Naa

X O 2

धध धध धाग ततरककट त ना कत ता धाग ततरककट धी ना धध

Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin

O 3 4 X


ताल एकताल

मातरा : 12,

विभाग (खड) – 6 (2, 2, 2, 2, 2, 2),

ताली : 4 (1, 5, 9, 11 िी मातरा पर),

खाली : 2 (3 तथा 7 िी मातरा पर)

Taal Ektaal

Maatraa (Beats): 12




ठका

Thekaa

धध धध धाग ततरककट त ना Dhin Dhin DhaaGe Tirakita Too Naa

X

O 2

कत ता धाग ततरककट धी ना धध

Kat Taa DhaaGe Tirakita Dhee Naa Dhin

O

3

4 X

ततगन

Tigun

धध धध धाग ततरककट त ना कत ता धाग ततरककट धी ना धध धध धाग ततरककट त ना

Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin Dhin DhaaGe Tirakita Too Naa

X O 2

कत ता धाग ततरककट धी ना धध धध धाग ततरककट त ना कत ता धाग ततरककट धी ना धध

Kat Taa DhaaGe Tirakita Dhee Naa Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin

O 3 4 X

ततगन

Tigun



X O 2

कत ता धध धध धाग ततरककट त ना कत ता धाग ततरककट धी ना धध

Kat Taa Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin

O 3 4 X




ताल एकताल : पलसकर ललपी Taal Ektaal : Pandit Paluskar Taal – Lipi (Taal script)

दगन


धध धध धाग ततरककट त ना कत ता धाग ततरककट धी ना


X x C c vvvv X x Xx C c vvvv Xx

1 + 5

धध धध धाग ततरककट त ना कत ता धाग ततरककट धी ना धध Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin X x C c vvvv X x Xx C c vvvv Xx z

+ 9 11 1


दगन




z z X x cccc z z

1 + 5

धध धध धाग ततरककट त ना कत ता धाग ततरककट धी ना धध Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin X x C c vvvv X x Xx C c vvvv Xx z

+ 9 11 1

चौगन

Chougun

धध धध धाग ततरककट त ना कत ता धाग ततरककट धी ना धध धध धाग ततरककट त ना कत ता धाग ततरककट धी ना

Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa

X O 2

धध धध धाग ततरककट त ना कत ता धाग ततरककट धी ना धध धध धाग ततरककट त ना कत ता धाग ततरककट धी ना धध

Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa

O 3 4 X

चौगन

Chougun



X O 2

कत ता धाग धध धध धाग ततरककट त ना कत ता धाग ततरककट धी ना धध

Kat Taa DhaaGe Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa

O 3 4 X

ठका

Thekaa



z z X x cccc z z 1 + 5

कत ता धाग ततरककट धी ना धध

Kat Taa DhaaGe Tirakita Dhee Naa Dhin

z z X x cccc z z Z + 9 11 1



चौगन


धध धध धाग ततरककट त ना कत ता धाग ततरककट धी ना धध धध धाग ततरककट त ना कत ता धाग ततरककट धी ना Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa C c v v yyyy C c c c v v yyyy c c C c v v yyyy C c c c v v yyyy c c

1 + 5

धध धध धाग ततरककट त ना कत ता धाग ततरककट धी ना धध धध धाग ततरककट त ना कत ता धाग ततरककट धी ना धध

Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin C c v v yyyy C c c c v v yyyy c c C c v v yyyy C c c c v v yyyy c c z

+ 9 11 1


चौगन



z z X x cccc z z

1 + 5

कत ता धाग धध धध धाग ततरककट त ना कत ता धाग ततरककट धी ना धध

Kat Taa DhaaGe Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin

z z X x C c v v yyyy C c c c v v yyyy c c z

+ 9 11 1

ततगन


धध धध धाग ततरककट त ना कत ता धाग ततरककट धी ना धध धध धाग ततरककट त ना Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin Dhin DhaaGe Tirakita Too Naa H h j j llll h h H h j j llll h h H h j j llll h h

1 + 5

कत ता धाग ततरककट धी ना धध धध धा ग ततरककट त ना कत ता धाग ततरककट धी ना धध

Kat Taa DhaaGe Tirakita Dhee Naa Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin H h j j llll h h H h j j llll h h H h j j llll h h z

+ 9 11 1

ततगन



z z X x cccc z z

1 + 5

कत ता धध धध धा ग ततरककट त ना कत ता धाग ततरककट धी ना धध

Kat Taa Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin

z z H h j j llll h h H h j j llll h h z

+ 9 11 1



भातखड ताल – ललपी Pandit Bhatkhade Taal – Lipi (Taal script)




ताल झपताल

मातरा : 10, विभाग (खड) – 4 (2, 3, 2, 3),

ताली : 3 (1, 3, 8 िी मातरा पर),

खाली : 1 (6 िी मातरा पर)

Taal Jhaptaal




ठका

Thekaa धध ना धध धध ना तत ना धध धध ना धध

Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi

X 2 O 3 X

दगन


धध ना धध धध ना तत ना धध धध ना धध ना धध धध ना तत ना धध धध ना धध

Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi

X 2 O 3 X

दगन


धध ना धध धध ना धध ना धध धध ना तत ना धध धध ना धध

Dhi Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi

X 2 O 3 X

ततगन


धध ना धध धध ना तत ना धध धध ना धध ना धध धध ना तत ना धध धध ना धध ना धध धध ना तत ना धध धध ना धध

Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi

X 2 O 3 X

ततगन


धध ना धध धध ना तत - - धध ना धध धध ना तत ना धध धध ना धध

Dhi Naa Dhi Dhi Naa Ti - - Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi

X 2 O 3 X

चौगन


धध ना धध धध ना तत ना धध धध ना धध ना धध धध ना तत ना धध धध ना धध ना धध धध ना तत ना धध धध ना धध ना धध धध ना तत ना धध धध ना धध

Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi Naa

Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi

Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi

X 2 O 3 X

चौगन


धध ना धध धध ना तत ना - - धध ना धध धध ना तत ना धध धध ना धध

Dhi Naa Dhi Dhi Naa Ti Naa - - Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi

X 2 O 3 X


ताल झपताल : पलसकर ताल – ललपी Taal: Jhaptaal : Pandit Paluskar Taal – Lipi (Taal script)




ठका

Thekaa

धध ना धध धध ना तत ना धध धध ना धध

Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi

z z z z z z z z z z Z 1 3 + 8 1

दगन

Dugun

धध ना धध धध ना तत ना धध धध ना धध ना धध धध ना तत ना धध धध ना धध

Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi

Xx Xx Xx Xx Xx Xx Xx Xx Xx Xx z

1 3 + 8 1

दगन

Dugun

धध ना धध धध ना धध ना धध धध ना तत ना धध धध ना धध

Dhi Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi

z z z z z Xx Xx Xx Xx Xx z

1 3 + 8 1

ततगन

Tigun

धध ना धध धध ना तत ना धध धध ना धध ना धध धध ना तत ना धध धध ना धध ना धध धध ना तत ना धध धध ना धध

Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi

H h h H h h H h h H h h H h h H h h H h h H h h H h h H h h z

1 3 + 8 1

ततगन

Tigun

धध ना धध धध ना तत - - धध ना धध धध ना तत ना धध धध ना धध

Dhi Naa Dhi Dhi Naa Ti - -

Dhi Naa Dhi Dhi Naa Ti Naa

Dhi Dhi Naa Dhi

z z z z z z H h h H h h H h h H h h z

1 3 + 8 1

चौगन

Chougun

धध ना धध धध ना तत ना धध धध ना धध ना धध धध ना तत ना धध धध ना धध ना धध धध ना तत ना धध धध ना धध ना धध धध ना तत ना धध धध ना धध

Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa DhiNaa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi C c c c C c c c C c c c C c c c C c c c C c c c C c c c C c c c C c c c C c c c

1 3 + 8 1

चौगन

Chougun धध ना धध धध ना तत ना - - धध ना धध धध ना तत ना धध धध ना धध

Dhi Naa Dhi Dhi Naa Ti Naa - - DhiNaa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi

z z z z z z z C c c c C c c c C c c c

1 3 + 8 1




दगन


धा धा द ता ककट धा द ता ककट तक गद गन

Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Tak Gadi Gana

X O 2

धा धा द ता ककट धा द ता ककट तक गद गन धा

Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Tak Gadi Gana Dhaa

O 3 4 X


दगन


धा धा द ता ककट धा

Dhaa Dhaa Din Taa Kita Dhaa

X O 2

धा धा द ता ककट धा द ता ककट तक गद गन धा

Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Tak Gadi Gana Dhaa

O 3 4 X


ताल चौताल चारताल

मातरा : 12,

विभाग (खड) – 6 (2, 2, 2, 2, 2, 2),

ताली : 4 (1, 5, 9, 11 िी मातरा पर),

खाली : 2 (3 तथा 7 िी मातरा पर)

Taal Choutaal – Chaartaal

Maatraa (Beats): 12




ठका

Thekaa

धा धा द ता ककट धा Dhaa Dhaa Din Taa Kita Dhaa

X O 2

द ता ककट तक गद गन धा Din Taa Kita Tak Gadi Gana Dhaa

O 3 4 X

ततगन

Tigun

धा धा द ता ककट धा द ता ककट तक गद गन धा धा द ता ककट धा

Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa Dhaa Din Taa Kita Dhaa

X O 2

द ता ककट तक गद गन धा धा द ता ककट धा द ता ककट तक गद गन धा Din Taa Kita Taka Gadi Gana Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa

O 3 4 X

ततगन

Tigun



द ता धा धा द ता ककट धा द ता ककट तक गद गन धा Din Taa Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa

O 3 4 X


चौगन

Chougun

धा धा द ता ककट धा द ता ककट तक गद गन धा धा द ता ककट धा द ता ककट तक गद गन

Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana

X O 2

धा धा द ता ककट धा द ता ककट तक गद गन धा धा द ता ककट धा द ता ककट तक गद गन धा Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa

O 3 4 X

Chougun – Single cycle चौगन

Chougun



X O 2

द ता ककट धा धा द ता ककट धा द ता ककट तक गद गन धा Din Taa Kita Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa

O 3 4 X


ताल चौताल : पलसकर ललपी Taal: Choutaal : Pandit Paluskar Taal – Lipi (Taal script)

दगन


1

धा धा द ता ककट धा द ता ककट तक गद गन

Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana

X x X x cc x X x Cc cc cc cc

1 + 5

धा धा द ता ककट धा द ता ककट तक गद गन धा Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa X x X x cc x X x Cc cc cc cc z

+ 9 11 1


दगन


2


Dhaa Dhaa Din Taa Ki ta Dhaa

z z z z xx z

1 + 5

धा धा द ता ककट धा द ता ककट तक गद गन धा Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa X x X x cc x X x Cc cc cc cc z

+ 9 11 1

ठका

Thekaa


Dhaa Dhaa Din Taa Ki ta Dhaa z z z z xx z 1 + 5

द ता ककट तक गद गन धा Din Taa Kita Taka Gadi Gana Dhaa

z z Xx xx Xx xx Z + 9 11 1



चौगन


धा धा द ता ककट धा द ता ककट तक गद गन धा धा द ता ककट धा द ता ककट तक गद गन

Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana C c c c Vv c c c vv vv vv vv C c c c Vv c c c vv vv vv vv

1 + 5

धा धा द ता ककट धा द ता ककट तक गद गन धा धा द ता ककट धा द ता ककट तक गद गन धा Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa

C c c c Vv c c c vv vv vv vv C c c c Vv c c c vv vv vv vv z

+ 9 11 1


चौगन


धा धा द ता ककट धा Dhaa Dhaa Din Taa Ki ta Dhaa

z z z z xx z

1 + 5

द ता ककट धा धा द ता ककट धा द ता ककट तक गद गन धा Din Taa Kita Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa

z z Xx C c c c Vv c c c vv vv vv vv z

+ 9 11 1

ततगन


धा धा द ता ककट धा द ता ककट तक गद गन धा धा द ता ककट धा Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Tak Gadi Gana Dhaa Dhaa Din Taa Kita Dhaa H h h H jj h H h jj Jj jj jj H h h H jj h

1 + 5

द ता ककट तक गद गन धा धा द ता ककट धा द ता ककट तक गद गन धा Din Taa Kita Taka Gadi Gana Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa H h jj Jj jj jj H h h H jj h H h jj Jj jj jj z

+ 9 11 1

ततगन


धा धा द ता ककट धा Dhaa Dhaa Din Taa Ki ta Dhaa z z z z xx z

1 + 5

द ता धा धा द ता ककट धा द ता ककट तक गद गन धा Din Taa Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa

z z H h h H jj h H h jj Jj jj jj z

+ 9 11 1


raga : dugaa- qaaT: ibalaavala

gaMQaar inaYaad vajya-, saaro svar XauQd, jaatI: AaoDva AaoDva

vaadI: QaOvat, saMvaadI: ?YaBa, samaya : ra~aO dUsara phr

| |

Aaraoh S R M P SD S

| .

Avaraoh S D PM MR RD S

.

mau#ya AMga (pkD) M P D MR

RD S

raga : kafI qaaT : kafI

gaMQaar inaYaad kaomala, baakI svar XauQd, jaatI : saMpUNa- saMpUNa-

vaadI: pMcama, saMvaadI: YaD\ja, samaya : maQyara~I

|

Aaraoh S R F M P D B S

|

Avaraoh S B D P M F R S

mau#ya AMga (pkD) PM FR, RF MP, M F R S

raga : Kmaaja qaaT : Kmaaja

dao inaYaad lagato hOM, Aaraohmao ?YaBa vajya-, baakI svar XauQd

jaatI: YaaDva saMpUNa-, vaadI: gaMQaar, saMvaadI: inaYaad samaya : saMQyaa yaa ra~I

|

Aaraoh S GM PD N S

CC CC

|

Avaraoh S B D P M G R S

mau#ya AMga (pkD) GM PD BD P D G M G

raga : BaImaplaasaI qaaT: kafI

gaMQaar AaOr inaYaad kaomala, baakI svar XauQd, Aaraohmao irYaBa QaOvat vajya-

jaatI: AaoDva saMPaUNa-, vaadI: maQyama, saMvaadI: YaD\ja, samaya : saayaMkala

. | |

Aaraoh B S MF M P

SB S

|

Avaraoh SB DP MP MF M F

SR S

mau#ya AMga (pkD) SM, MFP,

MFM

MF

SR S

raga baagaoEaI qaaT: kafI

gaMQaar AaOr inaYaad kaomala (F,B), Aaraohmao pMcama vajya-,

jaatI : YaaDva saMpUNa-,vaadI: maQyama M saMvaadI: YaDja S, samaya : ra~aO

. |

Aaraoh B S F M D B S

|

Avaraoh S B D M, P D, M F R M, F R S

C

. .

mau#ya AMga (pkD) D B S M, F R M F R S

raga : BaUpalaI qaaT: klyaaNa

maQyama AaOr inaYaad vajya-, baakI svar XauQd, jaatI: AaoDva AaoDva,

vaadI: gaMQaar saMvaadI: QaOvat, samaya : ra~I ka phlaa p`hr

| |

Aaraoh S GR G P

SD S

| | . .

Avaraoh S SD P

PG R,

SD

SD S

.

mau#ya AMga (pkD) G R P G, G R SD S

raga : dosa qaaT : Kmaaja

Aaraohmao gaMQaar QaOvat vajya-, [sa ragamao dao inaYaad lagato hOM,

jaatI: AaoDva saMpUNa-, vaadI: pMcama saMvaadI: ?YaBa,

samaya: ra~aO dUsara p`hr

|

Aaraoh S R M P N S

| .

Avaraoh S B D P D M G R, GN S

.

mau#ya AMga (pkD) B D P D M G R, GN S

raga : klyaaNa (yamana) qaaT: klyaaNa

maQyama tIva` baakI svar XauW, vaadI: gaaMQaar saMvaadI: inaYaad,

jaatI: saMpUNa-, samaya : ra~Ika phlaa p`hr

. |

Aaraoh N R G K D N S

|

Avaraoh S N D P K G R S

. .

mau#ya AMga (pkD) N R G K G R, N R S

(* ’Prahar’ includes three hours . 1st prahar of night includes first three hours after sunset.)


AiKla BaartIya gaaMQava- mahaivaValaya maMDla mauMba[-

prIxaa pazyak`ma tqaa inayamaavaila

rijasT/oSana k`maaMk : 1444 / 1946 - 47 ef 150, sqaapnaa : 1931


Documents

Praveshika Pratham Syllabus Oral examination only: 15 ......Lakshangeet, Bhajan, SaReGaMa Geet, Vande Maataram, Jana Gana Mana 12 Recognize ragas : Three 6 Recognize notes: Two clusters